well, i converted the book,
dreams never end by claude flowers.

looks like it's an ebook already:
=================================
http://www.amazon.com/Ne...eywords=dreams+never+end

not sure in which countries.

still i like the pictures.

so we can check those out.


also will post some text
transcripts of it, so you
get an idea.

a really good book that you
should get.

---

again, disregard any thumbnails that aren't showing up.

later
-1

'dreams never end'

I loved that book. Mr Flowers' intelligent and objective insights are a welcome change from Paul Lester's wankin'-over-Hooky and Paul Morley's pschological neurological fuckallogical BS.

and more previews of the text:

---

'one of these days'

[transcript] -> _dreams_never_end________[book]__[part 3/?]_

hi no'ers,

here's the third part
of this story...

hope you enjoy it..

later
-1

---

[synopsis]

---

warsaw records its first demo tape. steve
brotherdale leaves to join 'the panik'..
stephen morris joins the band. the band
gets a chance to play at the last night
for the 'electric circus'.

---

[legal note]
this use is allowed under the context
of the material being used for 'review'
and 'articles'.

-----------------------------cut here---------------------------
[transcript]

[chapter1: page 14]
the quartet met several times over the next month for a series
of intensive rehearsals. these culminated in a july 18, 1977
trip to pennine sound studios where they recorded a demo tape
which they hoped would

[chapter1: page 15]
attract media attention, get them booked at bigger clubs, and
be a document of what the group had accomplished at that
period of their lives. unable to afford much studio time,
they had to record all songs in one take. the sessions, which
included 'inside the line', 'gutz','at a later date', 'the kill',
and 'you're no good for me(but strangely not 'novelty') lasted
from early afternoon until one in the morning. each band
member proudly clutched his own copy of the tape when warsaw
walked out into the night air. with luck, it would lead to
better things.

newlywed steve brotherdale certainly had both eyes open for
opportunities, and since he could not make a living off the
meagre earnings he was getting from warsaw concerts, he
found extra work as a session musician for rising stars
'the panik'. 'the panik' were recording a single entitled
'it won't sell', and although the title later proved sadly
prophetic, they seemed to have a lot going for them at the
time, especially in having rob gretton as their manager.
brotherdale defected to 'the panik' because he thought
they would become more successful than warsaw, and during
a party that summer, he tried to get ian curtis to jump
camps as well. ian attempted to sing along to a copy of
'it wont sell' but his voice was incompatible with the
music. thanking steve for the offer, ian shrugged,
'well, i might as well go back to warsaw.'

warsaw again posted notices for a drummer, and 19-year
old stephen morris of ian's home town macclesfield called
to schedule an audition. morris had played clarinet at
kings school, but like most people of his age, turned
his attention to rock instruments with the advent of
punk. he'd formed a group of his own, got a job at
his fathers kitchen fitting business when that group
broke up, and had hoped to play music again ever since.
barney reportedly needled the younger man for enjoying
ballroom dancing, but stephen responded with a dry
sense of humour which warsaw liked. equally important,
he was a great drummer. stephen morris was voted into
the group.

manchesters' arts community suffered a major blow that
autumn. in october of 1977, the electric circus, the club
where warsaw and many other local groups had got their start,
was forced to close its doors forever for breaking city
fire regulations. the owners scheduled two nights of
'farewell' concerts to pay homage to the venue, with
warsaw as part of th october 1 lineup, alongside
'the panik' and several others. the invitation to
be part of the electric circus last weekend was terribly
exciting to teh band, and the felt delighted to receive it.

imagine, then, their utter dissappointment when october 1
came and the promoters told warsaw that there was no room
on the schedule for them to play. ian wept, but recovered
after he was told warsaw could play the final night. october 2.
barney confused much of the audience when took to the
stage and just prior to playing 'at a later date,' shouted,
'you all forgot rudolph hess!' actually, the nazi war
criminal was on many people's minds, just having suffered
cardiac arrest in spandau prison. this bizarre lament for
someone barney viewed as a sickly old man fuelled rumours
that he was a nazi sympathiser. his inarticulate outburst
would follow him and his bandmates around for years to come.

the crowd's surpise at barney dicken's comment matched
warsaw's shock when a reprasentative from virgin records
appeared at their dressing room door with a document for
them to sign. unknown to warsaw, both shows were being
taped for release as a live album, and warsaw needed to
give their legal permission for virgin to include a song
of theirs on the lp, warsaw signed, and the rep, scurried away.

---

[by claude flowers, 1995]


'save it for another day'

[transcript] -> _dreams_never_end________[book]__[part 4/?]_

hi no'ers,

here's the fourth part
of this story...

hope you enjoy it..

later
-1

---

[synopsis]

---

warsaw makes an impact on the area. troubles
finding recording contracts...early recordings
and demos are made for 'an ideal for living'...
and the band gains confidence in their ability
to play and write...

---

[legal note]
this use is allowed under the context
of the material being used for 'review'
and 'articles'.

-----------------------------cut here---------------------------
[transcript]


[chapter1:page 15]
many influential people attended the electric circus show.
the closing of interested in the future of the manchester
music scene was on hand to assess and promote the
neighborhoods rising stars. warsaw were often

[chapter1:page 16]
picked out as being one of manchesters brightest hopes.
paul morley gave the quartet another favourable write-up
in nme, and a journalist from new music news had decent
things to say about them as well. another spectator was
itv television celebrity tony wilson, guitarist in the 'negatives',
a band scheduled for the october 1 show. 'i came along on the
wrong night,' wilson said. 'i brought my guitar, but it was
the wrong night. this was the first time that many of us
felt within ourselves that warsaw was the major group. i'd
seen them a couple of times before that, but that was the
central night for me, and a lot of people.'

nevertheless, warsaw were having trouble getting booked for
concerts because the demo tape they were sending to booking
agents was three months out of date and no longer accurately
represented the band. to many club owners, the warsaw they
heard on tape sounded just like every other punk rock band
in town, and were therefore not worth caring about. without
the electric circus around, good concert venues were at a
premium, and competition to play anywhere was probably
intense. warsaw fell by the wayside. fall and winter passed
quietly for the group, with just a handful of public performances.
having nobody to play for but themselves, their friendship
and their delight at simply creating music kept them together,
whereas a band seeking fame and fortune might have cracked.
warsaw learned to articulate their ideas, and evolved into
a tight, self-styled unit. hooky liked to play bass like a
guitar rather than as a rhythm instrument, and he and barney
discovered mutual gifts for melody that they would bounce
around, one instrument mimicking the other. stephen dreamed
up eccentric time signatures to play on his drums. ian's
lyrics became increasingly introspective and he abandoned
his harsh screams for a deep, resonant baritone. even if the
world seemed against them, the band thought. 'we'll show them,'
and forged onwards. nothing could stop warsaw. nothing.

t.j. davidson, the owner of a local recording studio, admired
the re-vamped warsaw. in december of '77, he offered to produce,
engineer, manufacture and distribute an ep of the bands music.
they accepted, and recorded four songs that would comprise
'an ideal for living'. the opening track, 'warsaw', began
with a joltingly loud a cappella verse, but was otherwise
unremarkable. 'no love lost' told the tale of a female
prisoner of war held captive in a nazi brothel, and was
inspired by a book ian had read entitled 'the house of dolls'
(the title even cropped up in one of the lyrics).
six seconds into the songs, ian can be heard breathing in
the left-hand speaker. in order to get a crisp sound on
t.j. davidsons four-track recorder, many of the instruments
and vocal tracks were recorded in just one speaker or the
other. this technique, known as 'hard panning', had been
around since the late 1960's. unfortunately, it dated the
songs making them sound very primitive. the recording did
not do the songs justice.

the mid-tempo 'leaders of men' and hyperactive 'failures
(of the modern man)', both scathing pieces of social
criticism, dismissed theory as - to quote the sex
pistols - a 'mad parade' of cruelties. the lyrics branded
humanity as weak and evil. ian curtis adopted this cynical
point of view for most of his songs to come. the tracks
tested the limits of his vocal range, but his visions knew
no bounds.

five thousand copies of 'an ideal for living' were pressed
as 7" singles, and the quality of the vinyl that the factory
used to make them turned out to be awful. warsaw were so
embarassed by the sound of the records that the band refused
to let them be released. davidson complied and put the
discs in storage.

---

[by claude flowers, 1995]


-----------end document-----------

---

transcription : -1
research : claude flowers
layout : generic Designs
text : claude flowers
concept : claude flowers, new order
thanx : claude flowers, bs, gg, sm, ph
(c) : 1995 omnibus press

---

'i always try i always miss'

transcript] -> _dreams_never_end________[book]__[part 5/?]_


'dance dance to the radio'

[transcript] -> _dreams_never_end________[book]__[part 5/?]_

hi no'ers,

here's the fifth part
of this story...

hope you enjoy it..

later
-1

---

[synopsis]

---

the birth of joy division, their early shows,
and some more controversial subjects..they
meet tony wilson, rob gretton, and a college
student named gillian gilbert..

---

[legal note]
this use is allowed under the context
of the material being used for 'review'
and 'articles'.

-----------------------------cut here---------------------------
[transcript]


[chapter2:page 21]
'the house of dolls' continued to haunt ian curtis, especially
the image of innocent human beings enslaved for the entertainment
of others. in some respects, it seemed to be the perfect
metaphor for the way warsaw had been manipulated by the music
industry around them. they felt like prostitutes at times, forced
to stay in a small wing of a very large prison (obscurity) until
called upon by the wardens (music industry power brokers). the
name for the prostitutes' prison wing in 'the house of dolls',
and the name warsaw assumed at the start of 1978, was joy
division.

the 'joy' of the title contrasted humorously with the band's
pessimistic outlook. the new name also ended a problem clubs
were having in mistaking warsaw for warsaw pakt, a punk group
which had just released an album. joy division made their public
debut on january 25, 1978.

the show took place at pip's in manchester, advertised as a
warsaw concert to help the fans make the transition from one
name to the other. despite some confusion that almost caused
ian to miss the gig entirely (he'd had a few too many drinks
before showtime), and a fight in the audience, which muscled
dockworker peter hook broke up, the concert announced joy
division as the quartet's official new name. they resolved
to change it again if anyone left the group, or died.

stiff and chiswick records hosted a battle of the bands at
rafters on april 14, 1978. joy division and sixteen other
acts showed up for the competition, the winners getting a
recording contract with the eclectic stiff label, and
presumably, fame and fortune. the playing order was
determined at random, because everyone wanted to perform
first before the judges lost interest and went home.
the last name drawn from the hat read, 'joy division'.

waiting for their turn, the group walked to the bar for
a drink, and sat next to itv's tony wilson. one of the
music industries power brokers who held the key to
success. wilson had distinguished himself as the first
english tv host to feature punk rock. no doubt on hand
this evening to do some talent scouting himself, he
arrived with warsaw's electric circus performance strong
in his mind. certainly, one of the bandmembers should
introduce themselves? ian introduced himself by grabbing
wilson on the collar and saying, 'you b*****d! you put
the buzzcocks and sex pistols and all those others on
the telly, what about us?' barney and steve prised thier
singer off and dragged him away. hooky, meanwhile, tried
to con everyone he saw into taking the 'headlining' spot,
but nobody fell for his scheme. joy division were stuck
at last place.

they walked onstage at around ten minutes to two in the
morning, and blazed through four songs that none of the
judges and few of the audience stayed to hear. they felt
miserable, believing they had missed an important
opportunity. yet all was not lost: rob gretton had
complimented them on a 'brilliant' set, as did a friend
of theirs, a college student named gillian gilbert.
even tony wilson enjoyed them. the contest had been a
real 'stiff test', but joy division were winning over
all the right people in spite of themselves.

a few days later, ian shared wonderful news with his
bandmates. after visiting the offices of rca records,
hoping to get some free iggy pop posters, he met
derek branwood, the company's northwest promotions
manager. ian gave branwood a copy of 'an ideal for
living', and branwood liked it enough to pass it on to
his assistant richard searling and grapevine records
president john anderson, who were forming their own
punk record label. searling and anderson wanted to
release a full-length joy division lp, and the band
thought this was a great ida. they even attempted to
fulfill the duo's request for a cover version of the
song 'keep on keeping on', but the best they could do
was adapt some of the licks

[chapter2:page 22]
into a new composition they entitled 'interzone', named
after a william s. burroughs novel.

---

[synopsis]

---

joy division starts recording in the studio,
changes are made to some of the songs, and a
new manager appears..

---

[legal note]
this use is allowed under the context
of the material being used for 'review'
and 'articles'.

-----------------------------cut here---------------------------
[transcript]


[chapter2:page 22]
joy division had already perfected their material onstage,
so recording the songs was a quick and easy process lasting
only the first four days in may. they taped eleven songs, with
arrow studios engineer robert auger operating the recording
equipment. 'the drawback' began the album on a powerful note,
full of galloping drum tracks, catchy melodies, and ian's
vocals mixed loudly enough so that his lyrics could be
understood. all four songs from 'an ideal for living' were
re-recorded. the entire band sang the chorus of 'walked the
line', a bold anti-nazi statement that could only
discourage the festering suspicions about joy division's
political sympathies. the wonderful 'novelty' was also
taped, the slow and lumbering intro suddenly charging into
the body of the song.

'transmission', written in protest at the decline of pirate
radio stations featured an instantly memorable chorus -
'dance, dance, dance, dance, dance to the radio' - which would
make it an audience favorite at joy division concerts. 'ice age'
followed, a vivid fantasy about an earth of the future
locked in an eternal winter, and 'shadowplay' ended the
album on a malevolent note, the final thundering chord and
cymbal crash drifting off into nothingness. here, at last,
was a disc that gave indications of the scope of joy divisions
potential.

the bandmembers signed contracts with searling and anderson on
the night of may 4, right after they had finished recording, only
to find out they'd agreed to a royalty deal far below the
british average. anderson overdubbed sythesizers onto 'no
love lost' and 'transmission' to give the lp a richer sound, and
this distressed joy division even further. the band loved music
first and foremost, and to have an outsider tamper with their
songs worried them. they allowed searling to present anderson's
final mix to rca, but made no promises about letting anybody
release it.

as stephen, ian and hooky tried to forget their troubles
by rehearsing at t.j. davidsons, rafters dj rob gretton
appeared in the doorway. they knew he was a fan, but had
no idea why he'd shown up. 'what's he doing here', they
wondered. barney arrived shortly thereafter, and with a
grin he explained, 'this is our new manager'.

terry mason was a very dear friend to everyone in joy
division, but he wasn't a very good manager. gretton,
on the other hand, was experienced and geniunely excited
about the band. having left the panik because they wouldn't
listen to him, gretton wanted to manage joy division,
and all four bandmembers agreed he was the man to do it. 'i
used to be sort of a roadie for joy division as well,' gretton
later said. terry mason became the groups road manager, and
gretton told everyone to sit tight and see how the 'rca
album' resolved itself.

---

-------------------------------------------------
[synopsis]

---

we see some of joy division material getting
exposure, and they go to the factory..and play
there...and we meet an art student, peter saville.

---

[legal note]
this use is allowed under the context
of the material being used for 'review'
and 'articles'.

-----------------------------cut here---------------------------
[transcript]


[chapter2:page 22]
virgin records released the compilation lp 'short circuit:
live at the electric circus' in june. as the first
publicly available release to feature joy division,
it exposed many people to the group, although
unfortunately virgin had chosen the mediocre 'at a
later date' - with barney's quote about rudolph hess -
to represent them. short circuit din't serve the
band well.

about a week after the records release, joy division
appeared at the factory, a weekly event held at
manchesters west indian russel club. the factory
was co-organised by tony wilson and an actor named
alan erasmus in an attempt to revitalise the
manchester scene, which still hadn't recoverd
from the loss of the electric circuit. as wilson
explained, the factory club, 'came about purely
because alan erasmus and i started managing
durutti column, which wasn't so much a band that
existed, but one we created around two members
of another group. we rehearsed them for three
months, and by that time, you want to do your first gig.

[chapter2:page23]
we decided we didn't like any of the places in
manchester, rafters had become boring, there was
no interesting place. so we decided that the best
thing to do was to actually open a place, which is
what we did. we went into stuyvesant town in new
york. we went to this guy who was a white gangster,
trying to borrow the russel club just so the
durutti column could play there. we thought,
'if we're borrowing it for one-night, which the
guy said he would do, why don't we borrow it for
four consecutive friday nights, give the event
a name, give it an identity, invite some of the
other groups we know onto the bill.' and thats
how it grew. by the time that may came there
were four nights and a whole load of bands played.
we approached joy division to play in june, and they
said , 'yeah'.

the name factory came about not as a tribute to
andy warhol's factory club in new york, as many
have believed, but, 'by accident, really.' wilson
said, 'i was walking down the street in manchester.
alan erasmus saw a sign that read, 'factory
warehouse sale', and said 'why don't we call
(the new club) factory?' at the time i said, 'thats
fine' but the warhol connection never occured to me.'

joy divisions factory night was advertised with a
slick-looking poster designed by an art student
named peter saville. wilson recalled meeting saville
after a patti smith concert: 'i was walking out,
and this kid came up and said, 'uh, hey, i know
you do a lot of things, if you ever need a
designer, i'm the man, i'm the greatest. i'm a
young kid, but i'm a great designer.' i got
his phone number, and two or three months later
rang him up and said, 'do a poster (for factory).'
that was the beginning of my relationship with
peter saville.

---

---

[by claude flowers, 1995]


-----------end document-----------

---

transcription : -1
research : claude flowers
layout : generic Designs
text : claude flowers
concept : claude flowers, new order
thanx : claude flowers, bs, gg, sm, ph
(c) : 1995 omnibus press

---

'shes lost control'